[****] ISBN: 9781932907001
This is the best book on screenwriting that I've read so far. It can't take the place of basics like "Screenplay: The Foundations of Screenwriting" by Syd Field. But whereas Syd's book shows you the form of a screenplay and gives you the overall strategy for creating one, Blake's book gives you the nitty-gritty details and tactics for actually getting one written.
Look for even more guidance on creating a killer logline than "Crafty Screenwriting" gave. Look for a better explanation of genre than I've seen elsewhere (which is expanded on in "Save the Cat! Goes to the Movies"). Look for the amazing Black Snyder Beat Sheet (BS2) that gives a page by page breakdown of what goes where in your movie (every movie that works) and why. This is a must read for prospective screenwriters. And it's fun to read, too.
Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts
Friday, March 07, 2008
Sunday, March 02, 2008
Scene & Structure (Jack M. Bickham)
[***] ISBN: 0898799066
A very well structured and highly detailed book on how to do a highly detailed and well structured analysis when plotting a work of fiction. The problem for me is that doing all this analysis up front feels mechanical and artificial. I think these principles will be helpful in analyzing stories that don't seem to be working. This is good for skimming and getting general principles, but I would avoid getting bogged down in the details too soon.
A very well structured and highly detailed book on how to do a highly detailed and well structured analysis when plotting a work of fiction. The problem for me is that doing all this analysis up front feels mechanical and artificial. I think these principles will be helpful in analyzing stories that don't seem to be working. This is good for skimming and getting general principles, but I would avoid getting bogged down in the details too soon.
Wednesday, February 20, 2008
Save the Cat! Goes to the Movies: The Screenwriter's Guide to Every Story Ever Told (Blake Snyder)
[***] ISBN: 1932907351
I enjoyed the tone and perspective of this book and will be reading its predecessor, "Save the Cat!", in order to get a better understanding of how the plots can be broken down. The examples in this volume shed much light on how various sorts of films all share the same basic plot. Yet the book also shows how any basic outline, when done well, can be made fresh and alive. And when done really well, the same old plot becomes something new and unique. Recommended for any author, especially those writing screenplays. Warning: the plot breakdowns do contain spoilers (I skipped the ones for films I have not seen and plan to) and get a bit repetitive.
I enjoyed the tone and perspective of this book and will be reading its predecessor, "Save the Cat!", in order to get a better understanding of how the plots can be broken down. The examples in this volume shed much light on how various sorts of films all share the same basic plot. Yet the book also shows how any basic outline, when done well, can be made fresh and alive. And when done really well, the same old plot becomes something new and unique. Recommended for any author, especially those writing screenplays. Warning: the plot breakdowns do contain spoilers (I skipped the ones for films I have not seen and plan to) and get a bit repetitive.
Tuesday, February 12, 2008
How I Write: Secrets of a Bestselling Author (Janet Evanovich with Ina Yalof)
[***] ISBN: 9780312354282
This is a fairly informative, pleasant, and entertaining look at how one working writer does it. As best she can, the author goes into her approach to character, plot, humor, adventure, outlining, storyboarding, drafting, and editing. This is how she keeps cranking out books that sell. There are some good tips here, including the rudimentary and common notion of keeping one's butt in one's chair and writing, everyday, no matter what.
This is a fairly informative, pleasant, and entertaining look at how one working writer does it. As best she can, the author goes into her approach to character, plot, humor, adventure, outlining, storyboarding, drafting, and editing. This is how she keeps cranking out books that sell. There are some good tips here, including the rudimentary and common notion of keeping one's butt in one's chair and writing, everyday, no matter what.
Friday, January 25, 2008
Plotting and Writing Suspense Fiction (Patricia Highsmith)
[**] ISBN: 0871160722
I skimmed through this and read a bit of several chapters. Interesting, but not earth-shattering. Mostly it recounts how Ms. Highsmith, the author of Strangers on a Train and The Talented Mr. Ripley, approached her writing. It's filled with the typical stuff about twisting any old idea into the plot of a whodunnit by combining it with other ideas and real life incidents and allowing them to ferment. A little bit about mechanics, but not enough to suit me. I suppose if I was more interested in her style of writing, I'd be more interested in how she did it.
I skimmed through this and read a bit of several chapters. Interesting, but not earth-shattering. Mostly it recounts how Ms. Highsmith, the author of Strangers on a Train and The Talented Mr. Ripley, approached her writing. It's filled with the typical stuff about twisting any old idea into the plot of a whodunnit by combining it with other ideas and real life incidents and allowing them to ferment. A little bit about mechanics, but not enough to suit me. I suppose if I was more interested in her style of writing, I'd be more interested in how she did it.
Sunday, January 20, 2008
Writing the Breakout Novel (Donald Maass)
[****] ISBN: 9781582971827
In this book, a literary agent gives his perspective on what an author needs to do, in their writing, to break out of the mid-list and into the best-seller lists. What's interesting is that there may not really be anything new here. It seems as though I have heard much of this advice before. But Mr. Maass presents it in such a compelling and straightforward fashion that it seems new. And it seems right. His thoughts should help me, and any author with their current work. I know I will have to return to this book more than once when I'm ready to take things to the next phase. Recommended.
In this book, a literary agent gives his perspective on what an author needs to do, in their writing, to break out of the mid-list and into the best-seller lists. What's interesting is that there may not really be anything new here. It seems as though I have heard much of this advice before. But Mr. Maass presents it in such a compelling and straightforward fashion that it seems new. And it seems right. His thoughts should help me, and any author with their current work. I know I will have to return to this book more than once when I'm ready to take things to the next phase. Recommended.
Tuesday, December 18, 2007
Crafty Screenwriting: Writing Movies That Get Made (Alex Epstein)
[****] ISBN: 9780805069921
If this isn't the first book you read about writing a script, it ought to be the second. The author has very pointed and practical advice about all of the phases of the process of getting a script actually made into a movie. He starts with the concept (the hook) and follows it all the way through to the rewrite and then shopping it around. Every step focuses on making sure that the script you have will capture the attention of a producer that will pay money to make it.
If this isn't the first book you read about writing a script, it ought to be the second. The author has very pointed and practical advice about all of the phases of the process of getting a script actually made into a movie. He starts with the concept (the hook) and follows it all the way through to the rewrite and then shopping it around. Every step focuses on making sure that the script you have will capture the attention of a producer that will pay money to make it.
Tuesday, October 09, 2007
You're Lucky You're Funny: How Life Becomes a Sitcom (Phil Rosenthal)
[***] ISBN: 9781597771436 (audio) ISBN: 9780452288782 (paperback)
This book is an almost perfect resource for anyone who is trying, or considering trying, to break into television scriptwriting, especially for sit-coms. For them it's really a four-star book. It's loaded with keen insight into the world of television production and writing.
It's also a four-star book for anyone who is a fan of the show Mr. Rosenthal created, Everyone Loves Raymond. It's loaded with hilarious behind-the-scenes stories about how the show came to be and the people involved.
For everyone else, it's worth at least three-stars, especially the audio edition where you get to hear the author, in his very ethnic New York voice, tell all the stories and do the voices and play some recordings. It's just plain funny.
This book is an almost perfect resource for anyone who is trying, or considering trying, to break into television scriptwriting, especially for sit-coms. For them it's really a four-star book. It's loaded with keen insight into the world of television production and writing.
It's also a four-star book for anyone who is a fan of the show Mr. Rosenthal created, Everyone Loves Raymond. It's loaded with hilarious behind-the-scenes stories about how the show came to be and the people involved.
For everyone else, it's worth at least three-stars, especially the audio edition where you get to hear the author, in his very ethnic New York voice, tell all the stories and do the voices and play some recordings. It's just plain funny.
Tuesday, July 03, 2007
It's Good to Be the King: The Seriously Funny Life of Mel Brooks (James Robert Parish)
[****] ISBN: 9780471752677
I didn't realize that Mel Brooks took his work quite so seriously. I also didn't know how hard he had to work to break into show business. I suppose I should have. Most entertainers are only overnight sensations after they put in years of hard work and paying dues.
I learned a few things about screenwriting and writing comedy, in particular. After writing a script in 30 days myself, working mornings and weekends, I thought someone that devoted full time to it would be able to knock one out in a few months. This especially seemed true of Mel Brooks movies, which seem so unrehearsed at times. But no, he took years to write most of them. And he usually did it with a writing partner or two. Comedy is probably easier to write when you have another sense of humor around to fill in your blind spots.
The biographer himself found a good structure for Mel's story and usually writes well. The text is full of attributions, but doesn't come off as a dry academic exercise. The one disappointing spot I found was the very sparse treatment given to developing Blazing Saddles. This is especially puzzling given the importance of this work in bringing Mel into the national spotlight. No matter, I recommend this to anyone that wants to learn more about this great talent.
I didn't realize that Mel Brooks took his work quite so seriously. I also didn't know how hard he had to work to break into show business. I suppose I should have. Most entertainers are only overnight sensations after they put in years of hard work and paying dues.
I learned a few things about screenwriting and writing comedy, in particular. After writing a script in 30 days myself, working mornings and weekends, I thought someone that devoted full time to it would be able to knock one out in a few months. This especially seemed true of Mel Brooks movies, which seem so unrehearsed at times. But no, he took years to write most of them. And he usually did it with a writing partner or two. Comedy is probably easier to write when you have another sense of humor around to fill in your blind spots.
The biographer himself found a good structure for Mel's story and usually writes well. The text is full of attributions, but doesn't come off as a dry academic exercise. The one disappointing spot I found was the very sparse treatment given to developing Blazing Saddles. This is especially puzzling given the importance of this work in bringing Mel into the national spotlight. No matter, I recommend this to anyone that wants to learn more about this great talent.
Saturday, June 09, 2007
Oscar-Winning Screenwriters on Screenwriting (Joel Engel)
[***] ISBN: 9780786886906
This book gives some insight into the grit, heart and soul of writing for film. Mr. Engel interviewed 11 Oscar-winning writers about their craft and edited the result into 11 monologues that often provide zesty insight into the life of a screenwriter. A common lament is the lack of recognition that the writers get in the industry (and by film fans). A common bond is the love of storytelling. Here and there the reader can also pick up some tips on how to write and sell a good script.
This book gives some insight into the grit, heart and soul of writing for film. Mr. Engel interviewed 11 Oscar-winning writers about their craft and edited the result into 11 monologues that often provide zesty insight into the life of a screenwriter. A common lament is the lack of recognition that the writers get in the industry (and by film fans). A common bond is the love of storytelling. Here and there the reader can also pick up some tips on how to write and sell a good script.
Tuesday, June 05, 2007
Screenplay: The Foundations of Screenwriting (Syd Field)
[****] ISBN: 9780385289153
This book is very solid stuff. It's exactly what someone (like me) getting started writing screenplays needs in order to get started and not fly off in the wrong direction. Syd tells you about structure. He tells you about character. He tells you about emotion. This book even gives you a peek at what it will take to market your screenplay (except I haven't read that section because I'm doing Script Frenzy and needed to do more writing). There's a reason why this book is almost always mentioned as a resource to people that want to write for film. I will probably have to get a (more up-to-date) copy of this for my writing bookshelf.
This book is very solid stuff. It's exactly what someone (like me) getting started writing screenplays needs in order to get started and not fly off in the wrong direction. Syd tells you about structure. He tells you about character. He tells you about emotion. This book even gives you a peek at what it will take to market your screenplay (except I haven't read that section because I'm doing Script Frenzy and needed to do more writing). There's a reason why this book is almost always mentioned as a resource to people that want to write for film. I will probably have to get a (more up-to-date) copy of this for my writing bookshelf.
Wednesday, May 30, 2007
Screenwriting for Hollywood (Michael Hauge)
[***] ISBN: 9781880717608 (audio only)
These are three hours of highlights of a seminar that Mr. Hauge gives over the course of a weekend. It's a fabulous jumpstart for someone that wants to understand how to write a script. It's not quite as invaluable as a good book on screenwriting (like Syd Field's). But it's well worth a listen and easier to access while commuting to work.
These are three hours of highlights of a seminar that Mr. Hauge gives over the course of a weekend. It's a fabulous jumpstart for someone that wants to understand how to write a script. It's not quite as invaluable as a good book on screenwriting (like Syd Field's). But it's well worth a listen and easier to access while commuting to work.
Friday, March 23, 2007
The Art of Fiction: A Guide for Writers and Readers (Ayn Rand)
[**] ISBN: 0786188847
This is a frustrating work. It's filled with wonderful thoughts and ideas about how fiction works, how to make characters live and breath with emotion and how authors can enhance their own creative process. On the other hand, it's also full of preposterous ideas about the purpose of fiction, what makes a book worth writing or reading and her own philosophical invective.
To top off my frustration, I watched the film version of her book The Fountainhead, in order to get a flavor of her writing. As I feared, it's full of the same melodramatic, selfish, intellectual drivel. I felt like Ayn (who wrote the book and the screenplay) was constantly pounding the sides of my head with a philosophical two-by-four using her completely ridiculous dialog (this stuff might work in some sorts of books, but it never works in film). It ruined what could have been a fascinating film with amazing directing and acting (very evident when no one was speaking). Whatever inclination I might have had to actually read some of her fiction has been squeezed out of my brain.
My hope is to remember and use the more practical and reasonable ideas that Rand puts forward in The Art of Fiction. I also hope to forget the crap (and never again hear the word bromide). It's too bad that's unlikely.
This is a frustrating work. It's filled with wonderful thoughts and ideas about how fiction works, how to make characters live and breath with emotion and how authors can enhance their own creative process. On the other hand, it's also full of preposterous ideas about the purpose of fiction, what makes a book worth writing or reading and her own philosophical invective.
To top off my frustration, I watched the film version of her book The Fountainhead, in order to get a flavor of her writing. As I feared, it's full of the same melodramatic, selfish, intellectual drivel. I felt like Ayn (who wrote the book and the screenplay) was constantly pounding the sides of my head with a philosophical two-by-four using her completely ridiculous dialog (this stuff might work in some sorts of books, but it never works in film). It ruined what could have been a fascinating film with amazing directing and acting (very evident when no one was speaking). Whatever inclination I might have had to actually read some of her fiction has been squeezed out of my brain.
My hope is to remember and use the more practical and reasonable ideas that Rand puts forward in The Art of Fiction. I also hope to forget the crap (and never again hear the word bromide). It's too bad that's unlikely.
Wednesday, January 03, 2007
Writing Mysteries: A Handbook by the Mystery Writers of America
[****] ISBN: 1582971021
Back in October, I read and reviewed Writing the Mystery. It was not all it advertised itself to be. In contrast, Writing Mysteries is everything it claims to be (a handbook) and more, including everything that the previous book touted. I think one reason this volume is so much more successful is that it is written by a collection of successful, published mystery writers. They bring a variety of viewpoints and tips such that the total exceeds the sum of the parts. Each essay also stands on its own, available as a reference on a particular topic. Any author, beginning or experienced, writing a mystery or other genre, can find help or encouragement in this book.
Back in October, I read and reviewed Writing the Mystery. It was not all it advertised itself to be. In contrast, Writing Mysteries is everything it claims to be (a handbook) and more, including everything that the previous book touted. I think one reason this volume is so much more successful is that it is written by a collection of successful, published mystery writers. They bring a variety of viewpoints and tips such that the total exceeds the sum of the parts. Each essay also stands on its own, available as a reference on a particular topic. Any author, beginning or experienced, writing a mystery or other genre, can find help or encouragement in this book.
Thursday, December 07, 2006
Zen in the Art of Writing (Ray Bradbury)
[****]
I found this short (176 pages of sparse text) collection of essays on the writerly art to be both inspirational and educational. I am also, sadly, a bit intimidated. Mr. Bradbury has a unique gift of almost photographic observation that he uses to great effect in creating works of great insight and color. On the other hand, there are lessons to be learned here of how to think beyond what others perceive and capture those images and thoughts in words for them to enjoy. I will have to revisit this book and try to learn a bit from this master storyteller.
I found this short (176 pages of sparse text) collection of essays on the writerly art to be both inspirational and educational. I am also, sadly, a bit intimidated. Mr. Bradbury has a unique gift of almost photographic observation that he uses to great effect in creating works of great insight and color. On the other hand, there are lessons to be learned here of how to think beyond what others perceive and capture those images and thoughts in words for them to enjoy. I will have to revisit this book and try to learn a bit from this master storyteller.
Monday, October 30, 2006
Writing the Mystery (G. Miki Hayden)
[**]
This book does not come close to living up to its cover blurb. It is not a "start-to-finish" guide. Some of this may not be entirely the author's fault. It's just that most of the lessons in the book are readily available elsewhere, and I've already read them. A complete novice may find some of the material to be helpful, although it is not presented in the most accessible way. An expert would be completely bored.
About half of the interviews in the back of the book were interesting. I love to read about how other writers approach the craft. Many of the interviews are allowed to veer into areas that have little to do with writing mystery novels, eliminating the need to even include them.
Someone considering this book would do better to find Writing Mysteries: A Handbook by the Mystery Writers of America edited by Susan Grafton. I am most of the way through that book and it is much more insightful and accessible.
This book does not come close to living up to its cover blurb. It is not a "start-to-finish" guide. Some of this may not be entirely the author's fault. It's just that most of the lessons in the book are readily available elsewhere, and I've already read them. A complete novice may find some of the material to be helpful, although it is not presented in the most accessible way. An expert would be completely bored.
About half of the interviews in the back of the book were interesting. I love to read about how other writers approach the craft. Many of the interviews are allowed to veer into areas that have little to do with writing mystery novels, eliminating the need to even include them.
Someone considering this book would do better to find Writing Mysteries: A Handbook by the Mystery Writers of America edited by Susan Grafton. I am most of the way through that book and it is much more insightful and accessible.
Friday, February 10, 2006
Worlds of Wonder: How to Write Science Fiction & Fantasy (David Gerrold)
[**]
There were plenty of good tidbits and insight in here. But I was disappointed, overall. I think there was much self-indulgence in including huge sections of his own writing. And I mean huge. It was distractingly huge. Still, I think a few things crept into my brain that I will be able to use in becoming a better writer. I may have to come back and look at this again.
There were plenty of good tidbits and insight in here. But I was disappointed, overall. I think there was much self-indulgence in including huge sections of his own writing. And I mean huge. It was distractingly huge. Still, I think a few things crept into my brain that I will be able to use in becoming a better writer. I may have to come back and look at this again.
Monday, December 26, 2005
On Writing (Stephen King)
[****]
Very fun. This had been recommended by others as required reading for anyone thinking about becoming a writer or curious about how one gets to be a writer. I concur. The first part of the book is a sort of memoir, focusing on what Stephen feels molded him as a writer. The second part is his take on what it means to be a writer and what tools you need in your toolbox to do it.
Very fun. This had been recommended by others as required reading for anyone thinking about becoming a writer or curious about how one gets to be a writer. I concur. The first part of the book is a sort of memoir, focusing on what Stephen feels molded him as a writer. The second part is his take on what it means to be a writer and what tools you need in your toolbox to do it.
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